Curating the Complex and the Open Strike
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Product Details
Author:
Terry Smith, Steven Henry Madoff
Format:
Paperback
Pages:
96
Publisher:
MIT Press (May 3, 2022)
Language:
English
ISBN-13:
9783956795312
ISBN-10:
3956795318
Weight:
2.8oz
Dimensions:
4.38" x 7" x 0.3"
Case Pack:
64
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_delta_active_D20260617T075030_156615859-20260617.xml
Folder:
RandomHouse
List Price:
$19.95
As low as:
$15.36
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Audience:
General/trade
Country of Origin:
Estonia
Pub Discount:
65
Imprint:
Sternberg Press
Overview
An analysis of the contexts in which curating takes place: why curate art these days and in the name of which interests?
If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us towards some answers to the more important questions: why curate art these days and in the name of which interests?
If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us towards some answers to the more important questions: why curate art these days and in the name of which interests?
